Tuesday, August 13, 2013

Royal Scot # 3
17" x 12" Colour Print Collage (2013)

Holy Sepulchure # 1
Mixed media Paper Collage (2013)

Some process images of  Holy Sepulchure # 1.

Cut pattern drawn.
Skewd and rotated before printing.

  Placed, & trace on reverse.
  Cut , & reassembled.

Wednesday, July 17, 2013

Code# Hanging 1 (2013) Title Pending.

(  Submission for NLA IV - IMOCA 2013  )

In June, I acquired a quantity of coffin adornments. Removed from the casket prior to cremation. Having fulfilled their ceremonial duties, they are returned to the funeral home, where they might be used again.

These objects are so obviously macabre, kitsch, somewhat sorrowful and totally absurd.

Sacred objects, manufactured for mass industry for the soundest of investments, that is our dearly departed.

These are objects of social inheritance, cultural artifacts from this age of mass production. A business catering even for the desire for reverence, and the second of absurdist solution: The belief in an transcendental realm. 
 (The first being suicide, and the third and last being the acceptance of absurdity and concept of meaning as unknowable.) 
- Kierkegaard and Camus describe the solutions in their works, The Sickness Unto Death (1849) and The Myth of Sisyphus (1942):

                              Code# Hanging 1 (2013).
                              Found Objects; Coffin adornments.
                              Metal Alloy.
                              Dimensions: Variable.

The rehanging of the work would be site specific, tuned to the nuances of the viewer and space.
The works are presented with a ceremonial reverence, yet displaying the true nature of the object's industrial origin.

On the reverse of each object is a production code, engraved into the mould. There is a sudden realization, these objects have in them traces of a reality far removed from our lives. They are rational things, but so alien to the constructs of our lives that their production and true value, that is as commercial commodity, may be somewhat different to our perception of these objects in the constructs of our personal reality.

Somewhere, perhaps in Guandong or Zhejiang province, there are endless productions line of tiny  messiahs. Habitually nailed onto their little crosses, packed and shipped away for consumption.


Some of the objects deconstructe,

Then placed on the expanded wall collage. 
Rather than continuing the the complimentary geometric,they are  inserted with some fluidity. 

When placing objects at its base, the collage began to feel suffocating and obtuse.
I would like to imagine the piece constructed higher up, secured upon a wall, it's lowest point circa 5ft. Emulating an alter of alloy.
Further development of project to follow.

Friday, June 28, 2013


Tino Sehgal

 This Situation at IMMA @ NCH

In this most recent version of This Situation at IMMA, the gallery is occupied by a group of six ‘participants’ or ‘interpreters’ whose choreographed actions generate a discussion of cultural, economic and philosophical issues. Revealed only as experiences in the time and space they occupy, his works exist for those who encounter them and in their memories, but not as physical objects. 
In that light, the following waffle is from my first encounter with this constructed situation.

I hear a lull of calculated voiced vertebrate around the corner of the old medical school hallways. Finding a room inhabited by several figures engaged in a complex dialogue. Relationship aesthetics or some thing.. These participants, moving their bodies as though actors in a Kabuki theatre. Their dense text is penetrated by a sudden silence. They turn to me, as I suspect they did to the other “non-participants" who huddle about the room with anticipating eyes. They say, "Wwwwwwweeelcome, to this, siiituation”.  So now here I am. Removed from the reality of a spectator. A space cadet. I fumble my way to an inviting corner with impish pride.

The conversation began to flow again. Much in the way of differentiating relations on aesthetic, perspective and morality. The participants, in their ghostly regal manners, divulge dramatic interpretations to what seems to be informed by their respective disciplines. Musical theory, economic history and so forth. They dissected it’s branches with revelatory deliverance. One paricipant, Suddenly turning to a spectator, and bursting the air, asks "Or, what do you think?"  and points with boney finger, down towards the spectator.
She, clearly entranced with the situation she has found herself in, engages like Siegfried and summarized her perspective with flashing articulation. Relating all views as to being shaped by circumstance of given time and place. You know… post-modernism.

A new participant was born, and now other spectators with fogged breath eagerly tap the glass.
I'm a bit feather in cap now of course, while at the time I shrank away from situation for fear of being asked a terrifying question like "What do you think?"
and have me spew up some alphabet soup.

The conversation, which would continue uninterrupted, except in the theatrical case of a newcomer, if that could be called an interruption,  goes on throughout the day.
And as conversation ebbed and flow, the medium of the artist, that is attention,
finally permitted me leave.
A few others followed out of the chattering hall, and we several giddy strangers continued topics and shared perspectives, our faces elated and tongues wagging. For even those who had not directly engaged with dialogue, had by sheer presence shifted and influenced mood. Each a crucial component to this, a truely unique self-reproducing situation.

- 12 May 2013

Monday, January 21, 2013

Two of Six, Royal Scots.
17" x 12" Colour Prints.

Assorted Bits
10"x7.52 Glossies.

Tuesday, September 25, 2012

10"x7" Labachrome print collage.
Found discarded local TD political portraits.
Cut and reconstructed from original.

Monday, September 24, 2012


Brain cell illustrations of Santiago Ramon y Cajal (1852 - 1934), pioneer of modern neuroscience.
Asteroid 117413 Ramonycajal is named in his honour.

Wednesday, August 8, 2012

Still from recent group exhibit at Pallas Projects.
Footage; raw.
Locale; Cooley Mountains
Clermont Carn Communication Mast, located  meteres from a megalithic passage tomb.

Full Video.